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Union Bridge from Windmill Brae
123 This photograph by George Washington Wilson, looking towards Union Bridge, shows the old red-tiled roofed houses in the Windmill Brae area in the 1850s. Most of these were swept away with the construction of the railway and the building of Bridge Street around 1865-1867.
The house at the left, on the corner of Union Terrace, was owned by Harry Lumsden of Belhelvie and later by the Northern Club. Its site became part of that occupied by the Northern Assurance Company offices.
The spire of the Triple Kirks and the tower of the South Parish Church are visible in the background. Rubislaw Toll House
316 Rubislaw Toll House, Queens Road at the junction with Spademill Road may still be seen with its rounded windows, facing different directions in order to spot victims who could be mulcted of their due tollage. It continued to function until 1863, when tolls for the maintenance of the county roads were abolished. The building then became a shop. The Puffing Briggie
532 A scene of change and renovation in the Denburn Valley. The image looks south from Union Bridge over the suburban platforms of the old Aberdeen Joint Railway Station. The old station's large, curved roof can be seen in the background.
The area we are looking at has seen much change since this time. It is now largely covered by the 1960s retail development on the south side of the bridge, the later Trinity Centre, the development of Wapping Street and Denburn Road, and the building of Atholl House. Though many of the buildings of note we can see in this image are still visible today.
The tall buildings on the far right are the rear of those on Bridge Street. The small street in front of them, going up to Guild Street, is the start of College Street. It is now a partially pedestrianised lane that goes under Wapping Street. The building at the top of this street is the classical style suburban ticket office, built 1909 and now home to Tiffany Hair & Beauty.
Going west along Guild Street's two span road bridge we come to the Great North of Scotland Railway Company's headquarters. This was designed by architects Ellis & Wilson and built in 1894. It is now part of the Station Hotel, along with number 78 next door. The building retains many of its original features. The Guild Street entrance to the Trinity Centre now runs along the western side of this building.
The image also shows features that are no longer present. The covered walkway that can be seen on the near right of the image enabled direct access from the station's central platform to the Palace Hotel on Union Street. The hotel was owned by the Great North of Scotland Railway Co. (GNSR). The walkway was vaulted to pass over the tracks at sufficient height.
Consulting The Joint Station: Aberdeen Station, 1867-1992 (c1992), this image probably dates from 1912 when, in additional to commencing the reconstruction of the Joint Station, the GNSR also laid new loading docks and carriage storage siding in the Hadden Mills site (left of image). This was to ensure that the main station buildings were used purely for passenger traffic.
The walkway that linked Windmill Brae and the Green, known affectionately as the Puffing Briggie, can be seen in the centre of the image. It looks like a section on the left has been temporarily demolished as part of the ongoing work.
The sidings on the extreme left were used for cleaning carriages in the later 20th century. One of our correspondents recounts using the often-unattended carriages, accessible when entering the station from the Green, as an unusually exciting and plush playground during their youth in the late-1940s. 13 Skene Square
792 A photograph showing 13 Skene Square in the late 19th century. This tenement is thought to be the birthplace of the genre and portrait painter John Phillip (1817-1867).
The image is included as a plate in Historical Aberdeen: the Castle and the Castle-hill, the Snow Church, the Woolmanhill and neighbourhood, the Guestrow by G. M. Fraser (1905).
Fraser indicates that the tablet that can be seen above the door was put up in memory of John Phillip by his friend William Brodie (1815-1881), the sculptor.
Fraser elaborates as follows:
"The first plate on the house, 13 Skene Square, was placed there by William Brodie, the sculptor. that house was pulled down six years ago, but fortunately Mr George Watt, architect, the proprietor of the house erected on the spot, has, with much public spirit, placed a bronze tablet on the new house telling that Phillip's house stood on that site. I wish we could be absolutely certain that Phillip was born here. There can be no doubt that he lived here as a child, but it suggestive that in the detailed notices of Phillip in the Aberdeen papers at the time of his death, it was said that he was born in Windy Wynd, where his father was a shoemaker. See Aberdeen Journal, 6th March, 1867; Aberdeen Free Press, 1st March, 1867. Stop 2: Katherine Humphrey (died 1830), the Gibbetstane, on road outside the Tolbooth, Castlegate
2301 The rectangular set of cobblestones or cassies outside the Tolbooth on Castle Street marks the site of the gallows in the Castlegate. It was on this spot that Kate Humphrey was the last woman to be publicly hanged in 1830 for murdering her husband James. Kate ran a public house with him in the nearby Bool Road and warned the magistrates of the 'evils of drink' in her final moments of life before she 'looked doon Marischal Street' - the local term for being hanged. Her body was sent to Dr Alexander Munro's Dissecting Rooms in Edinburgh. Kate believed she had been cursed when she was struck on the breat by the knot of the hangman's rope while witnessing Jean Craig's execution in 1784. Fishwives, the Green, Aberdeen
2703 A Valentine's Series postcard showing the view looking westwards from the Green, towards the train station and Bridge Street. This roughly corresponds to the part of the Green, beyond Rennie's Wynd, that now runs underneath the Trinity Centre to the Denburn Road.
This early 20th century image shows a significantly different scene. On the left, a row of fishwives, along the northern wall of Hadden's textile factory, display maritime stock for sale. They are attended by an assembled crowd of shoppers and children.
Beyond can be seen the bridge, known as the Puffing Briggie, that linked the Green and the foot of Windmill Brae across the train tracks. A sheltered railway platform can be seen to its left and a corner of the Palace Hotel is visible on the right. Hazlehead Park
3040 This postcard image looks north west from the grassy, wooded area in front of Hazlehead House.
Previously the main residence on the estate, the house became a café after the opening of the park in 1920. It was located in the same spot as the later restaurant building that was opened in June 1960.
This James Valentine postcard image likely dates from fairly shortly after the opening of the park. The park is referred to as Hazlehead Woods in the card's caption. H. Duncan, Langstane Place
3174 A photograph showing the premises of newsagent and confectioner, H. Duncan, at 7 Langstane Place. The facade of the shop features a prominent advert for Player's Please cigarettes.
The buildings between Crown Street and Dee Street have been considered part of both Windmill Brae and Langstane Place at different times. The 1943 Aberdeen Post Office directory lists a Miss Helen Duncan at 791/2-81 Windmill Brae. This is most likely the original owner of the newsagent shown here.
By the mid-1950s directories indicate someone called L. Signorini was operating a newsagent at 7 Langstane Place. This would be the same premises. The other businesses, the partially visible truck, and the woman's clothes suggest the photograph probably dates from this period.
On the far left can be seen a staff entrance to the premises of A. B. Robertson & Son, Ltd, electrical engineers, who were based around the corner at 11 Dee Street.
On the right, at the corner of Langstane Place and Dee Street is the Gordon Bakery. Local newspapers suggest that the Gordon family operated a bakery at this location since at least the beginning of the 20th century. The long standing business closed down in 2018 and the site was put up for redevelopment.
At the time of writing in 2019, 7-9 Langstane Place is occupied by To-Buy Fish and Chips.
A digital copy of this image was kindly given to Aberdeen Local Studies by our colleagues in the Masterplanning, Design and Conservation Team. Aberdeen Cinemas: Picture House / Gaumont
3403 The Picture House was opened on 14th December 1914 with an inauguration ceremony chaired by Lord Provost James Taggart. It was built at 181 Union Street by the rapidly expanding English firm, Associated Provincial Picture Houses. Michael Thomson in Silver Screen in the Silver City (1988) explains that construction of the cinema was delayed due to the war.
As seen here in 1937, the cinema's entrance was dominated by two squat white marble finish pillars topped by bronze capitals. The atmosphere inside was said to be cosy and luxurious. After conversion, the pre-existing building on Union Street contained the cinema's large foyer and within this was retained a large, original fireplace to warm visitors.
The 900-seater auditorium stood side-on between Union Street and Windmill Brae. With a budget of £12,000, the Picture House was designed by English architects Robert Atkinson and George Alexander. Thomson explains that the architects were inspired along Classical theatre lines and the building featured dark wood walls hung with French tapestries. A large tea-room, called the Tapestry Room, took up the first floor of the Union Street building. Above that, on the top floor, was the manager's office.
Thomson suggests that an early strength of the Picture House was its highly competent orchestra, originally led by pianist W. G. Ross. These were pre-radio days, with recording still in its infancy, so the orchestral playing would have been a significant attraction.
The profits from the Picture House's first screening back in December 1914 were distributed to Aberdeen charities. The first talking picture to be shown at the cinema was The Singing Fool in 1929. The Picture House was an upscale operation and one of the key early venues for cinema exhibition in Aberdeen.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson] Aberdeen Cinemas: West End / Playhouse
3415 An Aberdeen Journals Archive photograph of the Playhouse at 475 Union Street in January 1959. The venue originally opened on 12th November 1915 as a cinema called the West End. This was the first venture into full-time picture-hall proprietorship by James F. Donald, a key figure in the history of independent cinema exhibition in Aberdeen.
Donald was born in Newhills and came to Aberdeen for an apprenticeship with a coachbuilding firm. He had a varied career before coming to prominence as a highly successful dancing teacher. He was the leader of the Gondolier School of Dancing and Deportment.
He moved into the cinema business after acquiring the necessary projecting equipment and occupying a former billiard hall above the Aberdeen Dairy at 475 Union Street. Michael Thomson in Silver Screen in the Silver City (1988) describes the cinema as a "strictly utilitarian affair", but a successful one at that. It was only heated by stoves, and coupled with being above a diary, it became known as "The Tuppenny Freezer".
Donald's lease on the cinema expired in September 1920 and he was immediately followed as proprietor by Bert Gate's Aberdeen Picture Palaces. It was a time of expansion for the incoming company. They had recently purchased The Picturedrome on Skene Terrace and shortly looked to transform the West End. The latter closed on 2nd April and reopened on 14th September 1921 as the 1,000-seater Picture Playhouse.
The opening ceremony was attended by Gates, the cinema's architects George Sutherland and Clement George, and various local VIPs. The opening films were A Yankee in the Court of King Arthur, a comedy called Jerry on the Spot, Pathé news, and another short. Thomson states that Aberdeen Picture Palaces were "now the proud possessor of a large, well-situated 'flagship' house, and Union Street now sported a fine up-to-date cinema."
The design of the Playhouse was "classical" and up-market, in accordance with its prominent west-end location. As seen here, the Union Street entrance was surrounded by white Sicilian marble facings on a black marble base. The paybox was oval in shape with one end in the vestibule and the other in the front foyer.
The main foyer was through the Union Street part of the building and up a 12-feet wide carpeted, marble stairway. This way was a tea room called the Ingleneuk, the manager's office, and the ornately decorated auditorium. The plush new cinema represented competition for the nearby Picture House.
Bert Gates, the manager of the Playhouse, was somewhat sceptical of the talkies but fully embraced the new development in February 1930 with the installation of a full Western Electric sound system.
The opening of Aberdeen Picture Palace's Capitol down the road in 1933 saw a reduction in ticket prices at the Playhouse. The two partner cinemas were advertised at the time as "Aberdeen's Premier Pair".
On 23 May 1941 it was announced that James F. Donald (Aberdeen Cinemas) Ltd. had bought a controlling interest in Aberdeen Picture Palaces. This meant that the Playhouse, along with the other APP venues, were now in the Donald circuit of cinemas.
This photograph dates from 1959 shortly before the cinema was relaunched as the Playhouse Continental, showing popular, often more risqué, films from Europe. This only lasted for a couple of years and the cinema reverted to being the Playhouse in 1961. This photograph shows the cinema advertising The Wind Cannot Read with Dirk Bogarde and All for Mary.
By 1973 the profitability of the Playhouse was eroded by spiralling costs. The owners of the building, builders James Scott & Son, had moved premises and were looking to dispose of the Union Street property. The cinema's lease was terminated at the end of 1973 and the cinema closed on 9th May 1974. Ownership of the block passed to Devanha Properties Ltd. and after lying empty for a few months the Playhouse was demolished to make way for a new block of shops and offices.
[Information primarily sourced from Silver Screen in the Silver City (1988) by Michael Thomson]
Image © Aberdeen Journals Ltd. Windmill Brae
215 Windmill Brae looking towards the Green and Hadden's textile mill.
This image comes from the portfolio book Aberdeen Illustrated in Nine Views, with Explanatory Remarks, Plan of the Town, and Several Vignettes (1840). It features lithographs by William Nichol of Edinburgh and was published by J. & D. Nichol of Montrose. Copies of this work are held in the Local Studies Reserve Stock at Aberdeen Central Library.
Correspondent Ed Fowler points out that the Bow Brig can be seen in the middle distance and notes the presence of a bell tower on the 5 story factory. Treasure 88: Polar Exploration
300 One of this month's treasures is a selection of our books about polar exploration. These mainly 19th century volumes were often written by those placed in command of a particular expedition, providing first-hand accounts of voyages through glacial seas and journeys to the frozen ends of the earth.
The many attempts to reach the North Pole are well documented in works such as Dr Fridtjof Nansen's Farthest North, 1898 and The Great Frozen Sea, 1894 by Rear-Admiral Albert Hastings Markham.
Similarly at the other end of the world the race was on to conquer the South Pole. Many countries mounted expeditions to the Antarctic in the early 1900's. One such undertaking has been chronicled in Ernest Shackleton's The Heart of the Antarctic, 1909 which is the story of the British Antarctic Expedition 1907-1909. The first successful attempt to reach the South Pole was made by Roald Amundsen who arrived there on 14 December 1911. It was a tight competition as the British Party with Captain Robert Falcon Scott as their leader arrived at the same spot only five weeks later.
Discover fascinating facts about the North and South Poles and the explorers who attempted to journey to the ends of the earth in the Treasures from our Collections interactive exhibition. Treasure 100: Pugin books and the Gothic Revival
319 The Gothic Revival is a term used to describe a movement in art, architecture and design from the mid-18th century to the late 19th century that was heavily influenced by medieval gothic style. In its beginnings it was an architectural style adopted largely by the rich and powerful for their grand houses and follies, and coincided with the rise in gothic literature such as Horace Walpole's Castle of Otranto (1764), and M.G. Lewis's The Monk (1796). However, towards the middle of the 19th century, the gothic style was beginning to filter into all aspects of private and public life, and one of the leading figures in this trend was Augustus Welby Northmore Pugin, son of the French born architect Auguste Pugin. In our collection we have two books by A.W.N. Pugin, and they are on display until the end of February. The first is a volume published in Edinburgh in the late 19th century that includes a number of publications by Pugin from the 1830s:
· Details of Antient Timber Houses of the 15th & 16th Centuries Selected from those existing at Rouen, Caen, Beauvais, Gisors, Abbeville, Strasbourg, etc. drawn on the spot [London, 1836]
· Gothic Furniture in the Style of the 15th Century designed and etched by A.W.N. Pugin [London 1835]
· Designs for Gold and Silversmiths [London 1836]
· Designs for Iron and Brass Work in the style of XV and XVI Centuries [London 1836]
The second is a very rare and highly detailed 1875 edition of floral designs intended for stencilling that was originally published in 1849; Floriated Ornament: A Series of Thirty-One Designs. Both books are rich in design and detail, and perfectly demonstrate the Victorian fervour for the application of gothic design in all aspects of their decoration, from architecture to interiors, tableware to jewellery.
View our Treasure exhibition on the interactive screen to see some more beautiful engravings from these unique publications. |